Plastic 6 (2023) 数字艺术 由 Jim Cheatle

数字艺术, 29.1x23.2 in
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卖家 Jim Cheatle
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This series evolves from The Fragmentation Series, extending Jim Cheatle’s long-standing investigation into surface, disruption, and the instability of images. AI-generated elements are trained on photographs of Cheatle’s earlier physical works, as well as the debris and residual forms those works left behind—paintings deconstructed, documented, and [...]
This series evolves from The Fragmentation Series, extending Jim Cheatle’s long-standing investigation into surface, disruption, and the instability of images. AI-generated elements are trained on photographs of Cheatle’s earlier physical works, as well as the debris and residual forms those works left behind—paintings deconstructed, documented, and digitally reconfigured. These source materials are interwoven with conventional photography and re-imagined via composite techniques, creating works that blur the line between analogue and algorithm. The resulting images are not simulations of painting, but autonomous hybrids: uncanny objects that echo the original forms while suggesting entirely new spatial and material logics.

相关主题

Jim CheatleAi ArtFragmentationDigital CollageContemporary Painting

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抽象主义 Jim Cheatle AI art fragmentation digital collage contemporary painting mixed media image recomposition materiality abstraction post-digital photographic assemblage screen-based practice composite image artificial intelligence process-led art deconstructed painting conceptual abstraction UK contemporary artist new media art tactile image
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Jim Cheatle 肖像
Jim Cheatle
英国
This series evolved from The Fragmentation Series, extending Jim Cheatle’s long-standing investigation into surface, disruption, and the instability of images. AI-generated elements are trained on photographs [...]

This series evolved from The Fragmentation Series, extending Jim Cheatle’s long-standing investigation into surface, disruption, and the instability of images. AI-generated elements are trained on photographs of Cheatle’s earlier physical works, as well as the debris and residual forms those works left behind—paintings deconstructed, documented, and digitally reconfigured. These source materials are interwoven with conventional photography and re-imagined via composite techniques, creating works that blur the line between analogue and algorithm. The resulting images are not simulations of painting, but autonomous hybrids: uncanny objects that echo the original forms while suggesting entirely new spatial and material logics. Rooted in abstraction but shaped by computational tools, the series explores how digital processes can extend, rather than replace, a material and painterly language.


Previous exhibitions include;

SUBRADAR
Curated by Jim Cheatle.
Jim Cheatle, Susan Collis, Neil Gall, Andrew Grassie, Neil Gall, Gavin Turk.
Laure Genillard Gallery, London
5 Feb - 2 Apr 2022

ART021
7 - 10 Nov 2019
Star Gallery, Beijing
Shanghai Contemporary Art Fair

SUBSTANTIFS: NEW PAINTING AND MATERIALITY IN THE SCREEN ENVIRONMENT
Curated by Jim Cheatle.
Jim Cheatle, Alison Goodyear, Alexis Harding, Peter Lamb, Antoine Langenieux-Villard,
Donal Moloney, Sarah Kate Wilson.
Arthouse1 Gallery, London
5 - 27 April 2019

CAROUSEL
17 - 25 May 2019
Curated by Amelia Bowles and Antoine Langenieux-Villard.

PUBLICATIONS
Subradar: The Deceptive Image in the Screen Environment
2022 Catalogue text and design Jim Cheatle.
Substantifs: New Painting and Materiality in the Screen Environment
2019 Catalogue text and design Jim Cheatle.
BENEATH IT ALL: SUBSTANTIFS AT ARTHOUSE1
2019. Tom Out Blog writes on the Substantifs show at Arthouse1
Tainted Love: Thoughts on ‘Surfaced: Surface and Materiality in the Screen Environment’ 2018. Instantloveland dot com article by John Bunker.
Surfaced: Surface and Materiality in the Screen Environment
2018. Catalogue text and design Jim Cheatle.
Jim Cheatle: The fragmentation Series
2016. Matt Price for Fused Magazine

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